lanual of Cardboard Construction 



I 



Manual of Cardboard Construction 



BY 

ROBERT J. LEONARD 

SUPERVISOR MANUAL TRAINING 
BERKELEY SCHOOLS 



PRINTED BY ORDER OF THE 
BOARD OF EDUCATION 



Berkeley Reporter. Printers 




UBSAaYofCONuHtSS 
! 1 wo Copies Hecoivu'J 

JAN 9 liiOB 

SUiSS/l XXc. rtu. 



COPY B. 



COPYRIGHT 1908 

BY 

ROBERT J. LEONARD 



This pamphlet has been prepared by Mr. Leonard, our 
Supervisor of Manual Training, for the assistance of the 
teachers of the grades for which the work is outlined, and it 
has received the sanction of the Board of Education, and 
thus becomes a part of our school course. 

Its purpose is to make the method of procedure clear 
.and definite for those who are to carry on the work in these 
grades, and it will undoubtedly contribute much to securing 
the success in this branch of our work, for which we are all 
so earnestly striving. 

S. D. Waterman^ 

City Superintendent. 

Berkeley, December 20, 1907. 



Introduction 

This manual is presented with the object of showing the 
purpose and scope of cardboard construction, and developing 
methods of presentation for classes of the third and fourth 
grades. For this purpose, some subordinate topics must be 
treated, such as: Current Opinions and Practice, Accuracy, 
Design, Use and Selection of Materials, Definite Processes, 
etc. No complete set of models is herein presented, for reasons 
given later. 

From what is generally presented upon the subject, one 
might expect to find a definite, clear-cut course, minute and 
explicit in every detail. One might even think that such would 
be the most help to the teacher. A moment's consideration 
must reveal the fact that such is not the case ; as models, exer- 
cises, or definite projects can be presented properly only when 
one comprehends the purpose of their presentation and real- 
izes their full significance. In other words, and to make a 
more general statement, no subject can be properly taught till 
we grasp its spirit and are able to see its full content and 
bearing. Once the keynote has been found, details and neces- 
sary externals will adjust themselves; all forming one har- 
monious unit. 

ROBERT J. LEONARD. 



Current Opinions and Practice 

Teachers and specialists advance many reasons for teach- 
ing cardboard construction. Summing them up briefly, they 
are : That such teaching develops accuracy, neatness, pre- 
cision, sense of form, proportion and beauty. A careful analy- 
sis shows these to be adult accomplishments, for the most 
part, to be acquired only by patient effort and long associa- 
tion with mechanical and artistic productions. The ordinary 
method of presentation tends to emphasize these points. We 
would not underestimate the value of these accomplishments, 
but over and above them, we must place the thought of 
mental development and unfolding. Certainly the above men- 
tioned attainments are marks and evidences of mental devel- 
opment, but only that quality of mentality which enables 
the child to execute what another has planned; all of which 
does not show that he is gaining the power which is going to 
enable him to plan for himself, to deal with problems individu- 
ally; or, in other words, to develop him so that he will be 
fitted to combat with the problems of life which cannot be 
solved by rule, but which demand individuality and a power 
to think and plan for himself. 

Construction work may be used as a means toward this end 
if it is presented with this thought in mind. As a general 
thing, it drifts into a course in mechanical drawing, presented 
by either dictating or copying the plan of the object. Support- 
ers of these methods advance the following arguments in 
their favor. The child learns to follow directions minutely 
as they are laid down, thus enabling him to execute with 
precision and accuracy the problems presented. He acquires 
a conception of various geometric forms, thereby forming a 



6 Cardboard Construction 

basis for mensuration and the general application of arith- 
metical principles. He is enabled to read a mechanical draw- 
ing quickly, forming a basis for the wood-work of the upper 
grades. 

These facts are mentioned to show that by means other 
than dictation and mechanical drawing, all these points may 
be brought out, and not at the expense of the child's initiative 
and individuality. 

Truly, our work must be carefully planned, but we must 
not be satisfied with developing only the powers of accuracy 
and neatness. Mechanical skill is a secondary consideration. 
Unless we proceed with this thought in view, our work will 
become stereotyped in form, and instead of developing the 
innate powers of the child, will tend to place him on the mental 
level of the shop hand who i-eceives his orders every morning 
and gradually loses his powers of choice and becomes a human 
machine. 



What to Tresent 

Upon examining various courses of study, we find a great 
variety of prorjects for third and fourth-grade work. Some 
are based entirely upon geometric forms; others upon articles 
of use and adornment about the house ; others upon toys which 
enter into the play life of the child ; still others upon nothing 
possessing human interest whatever. Let us. If possible, lay 
down a broad truth, so that we may have a standard upon 
which it will be safe to rely. 

Cardboard construction is generally presented in such a 
way that the children are forced to work from the plan to 
the object; that is, the teacher devises the plan and presents it 
to the class, insisting that the pupils' ideas conform to those 
presented. Most of the thinking is done in the formation of 
the plan, so that the teacher is really the one most benefited. 
By reason of this method, we often come across a plan that is 



Cardboard Construction 7 

not intelligible to a trained eye, much less to the child's. Light 
begins to dawn only after cutting and folding. This would 
not be the case if we worked from the object to the plan. 
Therefore, the only projects which we should present are those 
which the child is capable of visualizing, or those which have 
in some way entered into the life of the individual. The field 
from which we may draw is very large. Many adult activities 
have become a real part of child nature, such as house build- 
ing, constructing vehicles and articles of use about the home, 
and others too numerous to mention. The projects presented 
should be so familiar to the child that, as soon as they are 
mentioned, a mental image presents itself to the mind, thus 
forming an intelligent basis for work. Do not scorn a project 
because you have passed the period when it meant much to 
you, but try to look at it from the child's standpoint and 
realize how much it means to him. 

A short quotation from John Dewey illustrates the point 
at hand and leaves no doubt as to what we should present. 
"From the standpoint of the child, the great waste in the 
schoolroom comes from his inability to utilize the experiences 
he gets outside the school in any complete and free way within 
the school itself; while, on the other hand, he is unable to 
apply in daily life what he is learning in school. This is the 
isolation of the school, the isolation from life. When the child 
gets into the schoolroom he has to put out of his mind a large 
part of the ideas, interests and activities that predominate in 
his home and neighborhood. So the school, being unable to 
utilize this everyday experience, sets painfully -on another 
track, and by a variety of means to arouse in the child an 
interest in school studies." This clearly shows that we must 
first consider the child's interests, not because we wish to make 
our work entertaining, but because it gives us a satisfactory 
foundation. 



Cardboard Construction 



T)esign 

A designer must go through a certain process of thinking, 
although often unconscious of the fact, before forming a defi- 
nite conception of the object to be constructed. Let us de- 
termine, if possible, what this process is — and see, if, in sub- 
stance, it can be made to apply to the child in forming his 
conception of what he is to create. He must first know to 
what use the product is to be placed, whether practical or 
ornamental, and from what material it is to be constructed. 
Let us suppose that it is to be placed to a practical use, as 
the ornamental is somewhat foreign to the subject at hand. 
He knows that in shape and size the product must be so 
formed as to fulfil the desired end properly. Both shape and 
size are, of course, dependent upon the individual project. 

An analysis of any form of structure will reveal this fact. 
Let me illustrate by referring to the "Old Missions'' of Cali- 
fornia. Upon coming to California, the Jesuit priests had a 
many-sided problem to face. They were probably ignorant, 
from a technical standpoint at least, of the finer principles of 
architectural design and construction; yet the now decaying 
structures show a certain fitness for the desired end. They 
needed shelter and protection from the elements, refuges 
and strongholds in time of attack, and suitable buildings in 
which to conduct worship. Every structure, then, must 
possess the elemenet of strength, must be adapted to the 
building material, and in keeping with the general traditions 
relative to such structures. The material used was not dura- 
ble, but as that was all that was available, it had to be 
utilized. Every cube Avas made large and strong, and every 
wall thick and massive, capable of withstanding great force. 
In those parts of California where the climate permitted we 
find colonnades surrounding one or two sides, thus providing 
cool and comfortable verandas. Simplicity was the keynote 



Cardboard Construction 9 

of the building, probably from necessity, but possibly so that 
all would be in harmony with the general spirit and purpose 
of their lives. Thus we have relics of the past strikingly in 
keeping with the spirit of the times, built so as to suit climatic 
conditions, and in general harmony with the entire project. 

To illustrate again, let us refer to an ordinary kitchen 
table. Table height is about thirty inches. We find that this 
table is higher, as generally the individual stands while using 
it. Its top is not round like a dining table, as we are not 
going to sit around it, and also as it is usually placed against 
a wall. Everything about it is built for service; meaningless 
ornaments are omitted, as service and practicability are the 
desired qualities. Examine the flour and sugar bins; notice 
that there are no sharp corners to gather dust and refuse. 
The bottom is round; again see the influence of utility. Its 
top is not polished, as such would not be in keeping with the 
use to which it is to be placed. All these in themselves are 
simple facts, yet they clearly show the idea to be brought out. 
The table is built for service and convenience. These facts 
have influenced its height, size, shape and general design and 
construction. 

Design in its elementary stage is not a thing of culture 
and taste alone, but one of reason, without which fantastic and 
oftentimes absurd creations result. 

There are some fundamentals in design which should here 
be presented. We are coming to a realization of the fact that 
simplicity is one of these fundamentals. The day of highly 
ornamented furniture and houses is over. With simplicity 
comes a new obligation, viz., that of being true to shape and 
proportion, as these stand out alone free from ornament. We 
must recognize the difference between ornamental and con- 
structional design. The ornamental is subordinate to the 
constructional, as the one is the perfecting or embellishing of 
the other. We depend for beauty in ornamental design upon 
placing lines and leaving spaces, and upon massing light and 
shade; in constructional design we are dependent upon shape 



10 Cardboard Construction 

and proportion. As previously stated, both shape and pro- 
portion can be determined only by considering the individual 
project. Utility is the first essential ; next and subordinate to 
utility comes beauty. These two elements must be combined 
so as to form one harmonious unit. Such is the aim of every 
architect, builder and designer. 

Every project that we would probably present has as a 
basis either squares, rectangles, circles, or some forms of 
polygons. In many cases two or more of the above are com- 
bined in one project, thereby making it very difficult to lay 
down any definite rules. We know from experience and ob- 
servation that some forms of rectangles are pleasing to the 
eye, while others are repulsive. Carefully examine figures 1, 
2 and 3. Compare then and note wherein they differ. Figure 
1 is nearly a square. In figure 2 the length is twice as long 
as the width, while in figure 3 the width is a mean between 
the other two. It is readily seen that figure 3 is the most 
pleasing form. Note from figures 4 and 5 how 3 is formed. 
Have the children draw two squares together, as in figure 4. 
Below these, draw two others just like the first two. Divide 
the side d into three parts by placing dots at b and c. Add on 
the strip d e equal to c d. Now erase all interior lines in 
both figures, leaving figures resembling 2 and 3. Ask the chil- 
dren which they like the better. Have them look at a book 
cover, the tops of their desks, and many other rectangles 
resembling figure 3. Now have them locate rectangles re- 
sembling figure 2. Explain to them that this more nearly 
resembles a panel, as in figure 6. Explain to what use the 
panel is placed. Teach the children how to draw a rectangle, 
as in figure 3. They know that it is made of two squares plus 
a strip one-third of the width of one square. Suppose the 
length to be eighteen inches, then the width of figure 4 is nine 
inches, and of figure 5, twelve inches, as one-third of nine, or 
three, is added to nine. Go through this process is various 
ways, using other numbers, until it is perfectly clear to the 
children. This should be presented when they are about to 



Cardboard Construction 



11 



construct some piece involving the use of a rectangle of this 
shape. Avoid the use of rectangles resembling figure 1, as 
they are awkward in shape. It is very seldom that they are 
used in any way. 



RECTANGLES 






n^.>5. 



Fiy.6. 



12 Cardboard Construction 

Suppose that we have made a mounting for a calendar 
or match box resembling in shape figure 7. We must first 
locate the calendar or match box on the mount, as the nature 
of the ornament depends entirely upon this position. Figures 
7 to 12 illustrate this principle. It will be seen at a glance 
that a rectangle seems better adapted to the purpose than a 
square. Compare figure 7 with figure 12. Let us analyze the 
different figures. In figure 7 we have placed the mount in the 
lower right-hand corner, with the year to the left. The weight 
of the ornament must be in the upper left-hand corner, so 
that it may be balanced properly. A spray of leaves or flowers 
seems appropriate. In figure 8 we have placed the mount in 
the middle, below the center, and cut on the lines which form 
the ornament along the line ae. This necessitates an evenly 
balanced design filling either side of the mount. 

In figure 9 the calendar is placed in the same position as 
in figure 8, the ornament consisting of curves and border lines. 
After placing the numbers designating the year, the design 
seems complete. In figure 10 an upright calendar is used and 
is placed on the left-hand side, thus requiring the ornament to 
be on the right side. The smaller mount, upon which the cal- 
endar and design are placed, may be pasted on a larger mount. 
Note the effect produced by using border lines. In figure 11 
the mount is placed in an upright position, and an upright 
calendar is also used. A flower or shrub with long and slender 
leaves and foliage will appropriately fill the remaining space. 
Figure 12 clearly shows that a square is not so well adapted 
for this purpose as a rectangle. 

Let us again examine figure 8 (a). Notice the spacing 
along the line a e. Note that the spaces are irregular. Com- 
pare the distance a b with b c. In figure 8(b) the spacing is 
regular. Compare the distance a b and b c. Pleasing effects 
can seldom be produced by regular spacing. This will be 
found to be true in nearly every design, whether ornamental 
or constructional. 



Cardboard Construction 



13 



BALANCE AND DRNAMENT. 









19 



A<p>j^ aVuH 



or. 



^a 



i^zy. ?: 



Fi^. 3- a. 




Fi^- 9. 






rig- 


/o. 


















' 









F10./Z. 



Fig. //■ 



Fig 8. 2?. 



14 Cardboard Construction 

In figure 9, as above stated, curves have been used in 
forming the design. Note how they are constructed. The 
curve designated by the points c d is not a semi-circle, but 
a segment of a circle produced by locating the center on a 
point on the median line some distance from the top of the 
rectangle. Note also the curve bounded by b x. It is not a 
quarter-circle, as might be supposed at first glance. The curve 
can be based upon either the parabola or ellipse. It is always 
a pleasing curve. It can be drawn freehand by locating the 
points b and x where the curve comes into contact with the 
lines forming the rectangle. Avoid, if possible, the use of 
semi or quarter-circles. They are apt to look stilted and are 
seldom as pleasing as a segment either greater or less than a 
half or quarter-circle. 

All of the points mentioned cannot be drawn from the 
children, nor will they realize for a long time their full sig- 
nificance. Mention them from time to time as opportunity 
may arise; never fail to call attention to them when you are 
constructing something which demands their application. 

Some are of the opinion that nothing should be presented to 
the child that is not a perfect type of a class. We are apt to 
forget that growth is not the result of impression alone, but 
rather the combined process of impression and expression^ 
Which means most to the child, the elaborate design planned 
by the teacher, or the simple one planned by the individual or 
the class ? No other answer can be given than the latter ; first, 
because we are assured that such a plan is in keeping with 
his own understanding; and second, because from it we know 
what his ideas are, and therefore have a satisfactory basis 
upon which to build. 

We believe in the cultivation of the finer senses. The 
problem is to find tangible methods for such cultivation. As 
was before stated, it must be a two-fold process, with the em- 
phasis laid upon the side of expression. Development cannot 
be forced. Before reaching the advanced stages of culture, we 
must pass through the cruder ones. Such has been the history 
of the development of the individual and the race. 



Cardboard Construction 15 



Accuracy 



We all admire the splendid productions of the French and 
Germans, and realize to a keen degree that American workmen 
lack that care and exactness which is characteristic of some of 
the European nations. We all desire to raise the standard of 
excellence in this line among our own people. We realize also 
that this process must be begun in early youth. 

Is there such a thing as the general habit of accuracy? 
One may be able to draw a line between two dots and measure 
to a nicety a given distance, yet that same individual might 
not be able to form a series of letters between two given lines. 
A boy may be able to plane a board to a given line and yet be 
unable to perform a similar act with a saw. Thus we see that 
each operation carries with it its own difficulties and requires 
specific training. The only element of similarity in the above 
operations is that of care, keeping in mind the necessity for 
careful effort. 

The above is presented only to show that if you do succeed 
in getting pieces of work accurately constructed, it is not 
going to be a cure for all problems of inaccuracy which you 
find in childhood. Accuracy is not the keynote of Manual 
Training, at least from an elementary standpoint. Such is an 
utter impossibility, as it is a generally recognized fact that 
accuracy is not a characteristic of childhood, and Manual 
Training must be based upon the innate powers and poten- 
tialities of childhood, seeking rather to build upon characteris- 
tics naturally possessed by children and so developing and 
shaping them as to fit the individual for future usefulness. 

There are many reasons why we say that accuracy is not 
a characteristic of childhood. Look at it from a physical 
standpoint. We know that the large muscles develop first; 
the smaller ones later in life. Where other than this is the 
case, we have an abnormal development which is apt to inter- 
fere with the future well-being of the individual. It is obvious 



16 Cardboard Construction 

that when too much stress is laid upon the small things we 
are tearing down rather than building up. The young eye 
cannot faithfully discern minute measurements, and the un- 
developed hand cannot put the pencil in the desired place. 

Accuracy is also a mental attribute. Mind, hand and eye 
must work harmoniously. Thus, a three-fold development is 
necessary. This cannot be forced. We must guide and cul- 
tivate, looking forward to the time when the development will 
be complete in adult life. 

Great value results from the effort of the teacher in train- 
ing the child to be accurate in his construction work. He 
learns that he must work slowly; that an approximation is 
not sufficient, and that careful planning is essential to cred- 
itable production. Thus the elements of painstaking and fore- 
sight are cultivated, and these are bound to influence his work 
in the schoolroom along other lines. Thought must precede 
every profitable action. 

Let us plead for that rational degree of accuracy which 
can reasonably be expected from childhood. Those dealing 
with children will appreciate what has been said. It is for us 
to educate the outside world so that when they examine the 
finished product they may see it through the eyes of the child. 
Inaccuracy is very evident in construction work, and it is our 
duty to point out such errors. The children will see what is 
meant, for they are dealing with visible material, and not with 
indefinite generalities. Let us be sparing in criticisms, realiz- 
ing that accuracy is not a characteristic of childhood, and that 
too much emphasis and overdue effort will result in tearing 
down rather than in building up. 



Cardboard Construction IT 



Definite Processes 



In order that we may have some foundation upon which 
to build, it is necessary that we present a few definite pro- 
cesses. It has been found by experience that these processes 
bring forth the best results. For this reason they are pre- 
sented in this way : 

The pencil chosen should be hard and well sharpened. 
Light lines are the only kind to be used, as they are the best 
adapted for general purposes. All dots should be light, so 
that they will not be seen after the line is drawn. Scoring is 
the process of drawing a sharp instrument over lines where 
the cardboard is to be folded. It is done so as to make a neat 
fold. It is not necessary to score light cardboard or thin 
cover-paper before folding. The opened blade of the scissors 
may be used with success. Always use the ruler to guide the 
knife or scissors, so that the line will be straight. 

Generally the cardboard which is given to the children 
has not perfectly square corners, so that the first process is 
to square one corner. The children should be provided with 
a right triangle. See figure 13. It can be made of either wood 
or cardboard. The first process in squaring one corner is to 
draw a line across the bottom of the paper, as line a b in 
figure 14. This line should be drawn close to the edge of the 
paper. Place the triangle on the line in such a position that 
when a line, such as x y is drawn, a right angle is formed in 
the lower right-hand corner. This is always the first process. 
From this square corner and these lines, all measurements 
should be made. We have no further use for the triangle in 
the present figure. Suppose that a six-inch square is to be 
drawn. Measure from the corner x to the point k a distance 
of six inches and place a dot. Measure from the point y a 
distance of six inches and place a dot, at t. Now draw the 
line t k. 



18 



Caedboard Construction 



, ^^-/^ , 












.' 


, 



Fi0. /f . 



*i rr 




^ 



■V, 



Fi^J6. 



Fig. J 7: 



Fig /6- 



o 

o 

o 



Fi^. Id. 



We have a figure resembling 15, six iuches in width, and 
indefinite in length. Now measure from the point x along the 
line X J placing a dot at m which is six inches from x. Measure 
from the point k along the line k t, a distance of six inches 
placing a dot at n. Connect the dots n and m. The result is 
a six inch square. 

All cutting is done in the ordinary war with scissors. 
Open them wide and take a full stroke, keeping the e^-es on 
the line. Hold the paper each time so that the cutting will be 
done on the right side. The main difficulties in pasting are 
applying too much paste and allowing the children to work 
with dirty fingers. A small cotton cloth can be used to advan- 
tage when they are ready to paste. Have them do the rubbing 
with this instead of with their fingers. Do not allow them to 
apply too much paste. 



Cardboard Construction 19 

There are many ways to fasten together the corners 
of boxes, etc. Figures 17 and 18 show the ways most 
commonly used ; — that of pasting edges and lacing. The past- 
ing edges should be a trifle over a quarter of an inch in width. 
The corners should be clipped off so that they will not be so 
conspicuous in the finished product. If the method shown in 
Fig. 16 is used, the corners may be laced with silk floss, ribbon 
or raflSa. 



"" Method of Presentation 

In what has preceded it has been shown, in general, what 
to present; how to work out the design; how to perform cer- 
tain definite processes, and how to present the work in gen- 
eral. It now remains for us to elaborate upon the method of 
presentation. This may best be done by taking certain definite 
projects and working them out in detail, showing just how 
they may be developed in the classroom. 

Pencil "Box 

Suppose the project to be a pencil box, and that the class 
is not at all familiar with the work. It will be necessary, at 
first, for the class to see that any box has three dimensions — 
length, width and height, or depth. If you ask them the size 
of a certain box, at first they will give invariably only one 
dimension, not realizing that they have omitted the other two. 
Develop this point by illustrating with several boxes till it is 
perfectly clear. Have the class name over the various parts, 
telling which are always alike in size and shape. They will 
readily see that bottom and top, two sides and two ends may 
be grouped together. Now return to the box at hand. Ques- 

*The plans under this division are given only to assist the reader in following the 
suRgestions. They should never be presented to the children in this form. 



20 



Cardboard Construction 



tion them in regard to pencil boxes which they have seen — as 
to size, shape and general construction. Most of the answers 
will probably apply to wooden boxes. You will find that 
there are many kinds which could be constructed from card- 
board. They will probably mention these — a plain box, long 
and narrow, without cover; a plain box, long and narrow, 
with cover fastened to one side; a plain box, with a cover 
resembling another box minus the two ends. Let us decide 
upon the first box mentioned. By this time the children have 
a fairly clear mental picture of the product. It now remains 
for us to analyze this picture, reduce it to its component 
parts and then construct. Explain to them that the box is to 
be made from one piece of cardboard, by means of cutting, 
folding and pasting. Let us proceed to build it up. It is well 
to have this done at the blackboard, one child at a time doing 
what the class dictates. Show them that the bottom must 
first be drawn, as all the other parts are fastened to this. Be- 
fore this can be done, its size and shape must be known. Re- 
ferring under ^'Design" to what has previously been said, we 
know that the box must conform to the size and shape of the 
object which it is to contain; therefore it must be long and 
narrow. Determine the definite measurements and have the 
child draw the bottom on the board. See figure 19, a b c d. 



72 


PENCLBDX. 


b 


p 


A 


/ 


B 


». — ■ ■ d 

c d 


Li 




D 





Fi^- 19. 



Cardboard Construction 21 

Before going further, determine the height. After this is done, 
have the children point out the places on figure abed where 
the sides and ends are fastened. Now have the sides and ends 
drawn, as A B C D. If the class has trouble in following 
the above process, begin again ; this time having each child 
work at his desk, using paper and pencil. Draw the bottom, 
not stopping to measure or rule lines, but simply getting the 
relative size and shape. Now tear this out. Draw and tear 
out the two sides and ends in the same way. Arrange and hold 
these various parts together so as to form the box. Now let 
the sides and ends fall and we have a figure resembling 19. In 
order that we may be sure that every child knows what he is 
doing, let the class pass to the blackboard and build up the 
same thing again. x\t present we will not refer to the method 
of fastening the box together, as too much at once is confusing. 
Above all, go slowly. 

Now let the box be drawn very carefully. It is well to 
have it draw^n first on common manilla paper, so that if there 
are mistakes too much cardboard will not be wasted. This 
time we will not build it up, but draw it in a different way. 
Ask the class to point out the long lines, such as k 1 and x y; 
also lines m n and p o. As has been stated, we must first 
square the lower right-hand corner. Do this according to the 
process explained under the "Definite Processes." Let us sup- 
pose the box to be nine inches long, two inches wide and one 
inch deep. First draw all the horizontal lines, beginning at 
the bottom and working toward the top. We already have 
the line m o, as it is one of the lines forming the right angle. 
Draw the line x y one inch above m o, as the distance between 
these lines is the height of the box. Draw the line k 1 two 
inches from x y ; this distance is the width of the box. Draw 
the line n p one inch from k 1, thus forming the other side. 
Now draw the vertical lines, beginning at the right and work- 
ing toward the left. We already have the line 1 y, as this is 
the other line forming the right angle. Draw p o one inch from 
1 y ; this is the width of one end. Draw m n nine inches from 



22 Cardboard Construction 

p 0, this distance being the length of the box. Draw k x one 
inch from n m, as this is the width of the other end. This, in 
substance, is the process through which we must pass in draw- 
ing a box or anything similar. 

We must now consider the problem of fastening the box 
together. It is well at first to use the pasting flaps; these 
may be fastened to the ends B C, or the sides A D. Draw these 
according to directions given under "Definite Processes." Cut, 
score, fold and paste, and the box is complete. 

Portfolio 

As in the case of the pencil box, suggest the problem to 
the children. It may be used for post cards, or something 
similar. The children are more or less familiar with this pro- 
ject, as they have seen portfolios for sale at the stationers', and 
possibly are in possessien of one of them. There are many 
forms and varieties of portfolios; a great variety will be sug- 
gested by the children, so the field from which we may draw is 
very large. Some forms resemble envelopes, some little book- 
lets, while others are constructed elaborately, with various 
compartments resembling a folding purse. For the sake of 
uniformity in presentation let us decide upon a very simple 
one, resembling, in a degree, an envelope without flaps pasted. 
Discover the various parts. We find them to be the face, 
similar in shape to the postal, the two ends and the flaps at 
the top and bottom. See figure 20. Determine the size of the 
face. This must be a little larger than the postal card. Sup- 
pose we decide upon six inches by four inches. Let us test 
this rectangle and see if it is of good form. Dividing the length 
into tvS'O parts gives us three inches, or the size of the squares. 
One- third of three is one; added to three, gives us four inches 
for the width. Have this much drawn on the blackboard. 
From the construction of the pencil box, we know where the 
end and side flaps must be placed. It is well at this stage to 
draw lines of indefinite length, extending from the rectangle 
just drawn. See the diagram and note the lines Z z, etc. 



Cardboard Construction 



23 



PDRTFDLID 




jrig2l. 'Suggestions For Ornamenting Flap D- 



24 Cardboard Construction 

These lines bound the width of the flaps, and help us in de- 
termining their size. The side flaps are to be folded first, the 
bottom flap next, and finally the top flap. Now consider the 
width of the side flaps. Ask the children how wide they would 
have to be so as to meet in the middle of the face. It will be 
seen that they will be just as serviceable if they are not so 
long as this, and that they will probably look much better if 
they are made narrower. Let us make their width one and 
one-half inches. Consider, now, the two remaining flaps at 
D and C. Suppose these were just to meet when folded to- 
gether. They would not appear well, as there would always 
be a space between them. It is better to have the top one 
overlap the under one and come somewhat below the middle, 
so as not to leave two regular spaces on the back. Let us 
make the bottom one two inches wide; it will then reach the 
middle. Make the top one as much wider as we wish it to ex- 
tend over the bottom one. Suppose it is to overlap one inch, 
then the whole flap must be three inches wide. Have all these 
flaps placed on the drawing already begun on the blackboard. 
Now consider the ornamentation of the flaps. See figure 21. 
Allow much range in this respect. 

We must now decide upon the method of fastening the 
portfolio together. It might be tied with ribbon or silk floss, 
or a tongue might be added to the top flap and a slit made in 
the lower flap to receive it. Cut the slit with a knife, as it 
cannot be done well with the scissors. After folding and orna- 
menting, the project is completed. 

No directions are here given for drawing on the card- 
board, as the same methods already explained under the pencil 
box will apply in this case. 



Cardboard Construction 25 



Bank 

In general, this must resemble a box, somewhat modified 
in form. The same general method used in the construction 
of the pencil box is applicable in this case. As before stated, 
first call upon the child's store of knowledge relative to the 
proposition. He will call to mind the metal bank, just the 
diameter of a 5-cent piece; the square metal bank; the minia- 
ture house with a slot down the chimney, or possibly the 
metal pig with an opening on the back. All these ideas and 
experiences may be utilized in developing the present problem. 
For the sake of convenience in presentation, we must decide 
upon one form, either a square or rectangular box, with a slit 
cut in the lid to receive the coin. 

Instead of developing this further as a class project, let 
it be an individual one, making your directions and hints so 
general that they will apply to all, even if the dimensions are 
not all the same. All should be provided with paper. Before 
further presentation, review the various parts of any box, re- 
calling again those parts that are always the same. Xow lead 
the class by questions and suggestions till every one has some 
kind of a mental picture of a bank. These will probably not 
be uniform. Now have the child write on a corner of his 
paper the dimensions of the bottom of his bank; in the same 
way have him write the dimensions of the four sides. The prob- 
lem is reduced now to an individual proposition for each child, 
and he must necessarily do his own thinking. Have each one 
now draw his bank roughly, using his own measurement. 
Then place the top and pasting edges. Let him label the 
various parts as he draws them, so that he will not become 
confused. Have the bank cut out and folded. He now sees 
that he must in some way improve the top or cover so as to 
prevent it from falling down into the box. Many ways will 
be suggested. It may be done by adding on the flaps A and B 
and folding them at right angles to the side. See figure 22. 
Another flap at D will tend to hold it in place. The slit for 



20 



Cardboard Construction 



A 



J^. 



A 



D 



■ ■ 



BANK, 



7^ 



"^^ 



ty.zz. 



Cardboard Construction 27 

the coin must be cut with a knife. Follow the same directions 
in drawing the bank as given for the pencil box. In drawing 
the first two lines that form the right angle, place them far 
enough from the edges that the flaps at A and B may be drawn 
outside the figure. At first do not consider them at all; add 
them when the entire drawing is finished. Cut, score, fold 
and paste. 

Hexagonal Box or basket 

Before this project is commenced we must teach the 
children the parts of a circle; such as radius, diameter and 
circumference; and also, how to construct a hexagon, or six- 
sided figure. Tell them that all the sides of the hexagon must 
be the same size. Have a child draw a rough picture of a 
hexagon on the board. It is our purpose to develop the 
method of drawing this figure rather than to dictate the vari- 
ous steps. Have the child draw a circle about the hexagon, 
showing that it resembles this figure very closely, and that it 
is its basis. Examine figure 23. Draw the diameter a b, 
thereby showing that there are three sides on each side of this 
line. Locate the center of the circle at O, showing that this 
is also the center of the hexagon, and that the distance a o 
is just the same as the distance a x, or any of the sides. 

Let the children now draw a circle on a piece of paper, 
this time using their compasses, so that the figure will be 
exact. Insist that they keep their compasses set at the same 
radius as used. Draw the diameter. They now have all the 
facts needed; they know that all the sides are uniform, and 
the same size as the radius of the circle. Call these facts to 
mind, and let them devise the method of drawing the sides. 
At first they may measure the distance a x with their rulers. 
Show them that the easiest way is to use the compass, as this 
will insure all the sides being alike. Show them how to 
^'strike an arc," using their compasses, and let them draw 
the lines completing the hexagon. 

Our problem now is very simple. It now remains for us 



28 



Cardboard Construction 




Fi^.Z3. 



HEXAGONAL BASKET- 




i-5 



Fi^. ^t 



Cardboard Construction 29 

to determine the measurements for the basket, and then con- 
struct. Have this done as a class project. All that is needed 
is the diameter of the bottom and the height of the sides. 
After having determined the diameter of the bottom, draw 
the hexagon. Then have the children locate the surfaces 
where the sides must be attached. There are at least two 
plans which we may now follow. We may form the sides so 
that when folded they will be at right angles to the bottom. 
If we do this, the sides will resemble a b c d in figure 24. 
The other plan is to form the sides so that they flare at the 
top. If this plan is followed they will resemble the sides b x y. 
If the sides are to be at right angles to the bottom, a b c 
must be a right angle, and may be drawn with the square. In 
either case, we must draw another circle, using a radius equal 
to the sum of the bottom radius and the width of the sides. 
If the sides are to flare, we must first locate the points on 
the circumference which would be used in forming a hexagon 
in the outer circle, as at Z, S, etc. These points may be ob- 
tained in the same way that the first hexagon was drawn, or 
by drawing a line through o b and continuing it until it 
touches the circumference. The magnitude of the flare de- 
pends entirely upon the distance x y. This basket looks well 
when fastened together with silk floss or babv ribbon. 



Use and Selection of Materials 

It is well when the class is flrst taking up a project to 
have it worked out on plain manilla drawing paper, or similar 
inexpensive material. There are many kinds of paper and 
cardboard ordinarily used. Every kind is manufactured in 
various sizes and weights. These vary with the various manu- 
facturers. 

Cover paper is a good material to use for many things, 
being best adapted for projects ornamental in nature. A 
light-weight paper is seldom appropriate for boxes, or articles 



30 Cardboard Construction 

of a similar nature. It comes in a great variety of colors and 
shades, every dealer having certain shades which are manu- 
factured only by his firm. It is called cover paper because it 
is commonly used for covers for booklets, etc. It is usually 
sold by weight — so many pounds to the ream — depending, of 
course, upon the thickness of the sheet. 

Tag board is a very serviceable paper. It is much heavier 
than cover paper. Ordinarily it is used for shipping tags, etc. 
It, also, comes in a variety of weights and sizes. The size 
and weight used depend upon the individual project. Boxes, 
baskets, etc., can be satisfactorily made from this material. 
This paper is also sold by weight. 

Mat board, the same as used by picture framers, can be 
utilized very nicely for calendar mounts, covers for booklets, 
etc. This is more expensive than the others mentioned. It 
also comes in various sizes and weights, and is generally sold 
by the sheet. 

Occasionally we have use for quite heavy material. Straw- 
board will do when such is needed. It comes in various thick- 
nesses, and is sold by the bundle. These are usually desig- 
nated .by numbers. The bundles are all alike in weight, but 
vary in the number of sheets they contain. The number of 
sheets they contain determines the number by which they are 
listed. This board is yellow. When this color is not desirable 
it can be covered with light paper, or some ornamental design 
drawn on light drawing paper. 

Binder board is a board used by bookbinders for covers, 
etc. This may be used in mailing book covers, or mounts for 
various purposes. It is quite exj)eusive and is sold by 
the sheet. 

In some cases we may wish to fasten corners together 
with gummed paper. This may be purchased in sheets and 
cut into strips of the desired width. It can also be procured 
in various colors, and can be used for ornamenting. 

Bristol board may be used for some projects. It is very 
satisfactory material with which to work, but the price makes 



Cardboard Construction 31 

it almost prohibitive. It comes in various colors and weights, 
and has a glazed surface. 



Conclusion 

It is intended that this manual be suggestive. Any plan 
for working out in your class a certain project which you 
find successful is far better for you to use than one which 
has been copied from someone else. The projects herein pre- 
sented are typical ; it is therefore believed that no trouble will 
be experienced in working out other projects not mentioned. 
The individuality of the teacher determines the method of 
presentation to a great extent. A certain project can seldom 
be presented twice in the same manner, as the personality of 
the class is bound to have its effect. When this is the case, 
it is a hopeful sign, as you then know that the children are 
doing original thinking. 

Many occasions will arise for the application of the facts 
learned in arithmetic, and often, by applying certain arith- 
metical principles in their cardboard work, a great amount of 
drill will be saved, and the facts will be so impressed that 
they will never be forgotten. This is especially true in the 
study of fractions. Before finishing the course in cardboard 
construction, the children should be very familiar with their 
rulers. They should be able to measure any distance accur- 
ately and quickly. They should also be familiar with, and 
know how to construct, squares, rectangles, circles, etc. 

All the definite processes necessary for full and complete 
expression have been mentioned. The main point of the whole 
subject is expression. This we are very apt to overlook in our 
zeal to bring forth immediate results, and in our desire to 
have the child conform to adult standards. Through expres- 
sion comes power, which alone is the test of the effectiveness 
of our teaching. 



32 



Cardboard Construction 



Suggesttbe List of Projects 



Barn. 

House with Gable Roof. 

House with Hip Roof. 

Street Car. 

Wagon. 

House Furniture. 

Pencil Box. 

Jewel Case. 

Card Case. 

Portfolio. 

Stamp Album. 

Transfer Case. 

Tooth Pick Holder. 

Match Box. 

Match Scratcher. 

Pocket Comb Case. 

Bank. 

Whisk Broom Holder. 

Glove Box. 



Candy Box. 
Jack-o'lantern. 
Woven Basket. 
Woven Box. 
Needle Case. 
Hexagonal Lantern. 
Hexagonal Box. 
Hexagonal Basket. 
Wall Pocket. 
Calendar Mount. 
Suit Case. 
Picture Book. 
Book Mark. 
Yarn Winder. 
Envelope. 
Picture Frame. 
Pin Ball. 
Ribbon Box. 
Necktie Box. 



